L O S T I N I T a L

Total Page:16

File Type:pdf, Size:1020Kb

L O S T I N I T a L L O S T I N I T A L Luxembourg + Co., London Y 6 May – 3 July 2021 Bird Cage I from Richard Serra’s exhibition Animal Habitats: Live and Stuffed at the Galleria La Salita, Rome 1966 Luxembourg + Co., London, announces the opening on 6 May 2021 of Lost in Italy, an historical group exhibition organised by former Venice Biennale curator Francesco Bonami. Focusing on the unique role played by Italy as a hub of international artistic exchange during the post-war decades of the 1950s and ’60s, the exhibition will showcase works by Francis Bacon, Alberto Burri, Alexander Calder, Marcel Duchamp, Yves Klein, Jannis Kounellis, Pino Pascali, Robert Rauschenberg, Man Ray, Salvatore Scarpitta, Richard Serra and Cy Twombly. The exhibition will also showcase a new work by the contemporary Italian artist Maurizio Cattelan, which will be displayed on the building’s façade, visible to passers-by. 2 SAVILE ROW, LONDON W1S 3PA · T +44 (0)20 7734 1266 F +44 (0)20 7287 7039 LUXEMBOURG AND CO ART LIMITED REGISTERED IN ENGLAND NUMBER 7795620 VAT NUMBER 121 3859 31 As the Second World War came to an end, Italy experienced an unprecedented influx of tourists, immigrants and short-term residents, most notably from North America. Of the many artists who settled in or visited Italy during this period, Robert Rauschenberg and Cy Twombly became most famously identified with their artistic achievements in the country. These included several exhibitions in which new series of works were produced; a meaningful encounter with their Italian contemporary Alberto Burri; and, eventually, Rauschenberg winning the International Grand Prize in Painting at the Venice Biennale in 1964. This latter event is still today considered an indicator of a historic shift in the power balance between Europe – the former artistic centre of the world – and the United States as the new, leading global force in the arts from the 1950s onwards. Lost in Italy sets out to expand the well-rehearsed narrative of this exchange and to explore a range of major artistic achievements whose relationship to the international hub in Italy has often been overlooked or reduced to limited perspectives. Richard Serra’s first solo exhibition, for example, took place in Rome in 1966 at the Galleria La Salita, and included, as its title indicates, Animal Habitats: Live and Stuffed. Serra’s radical decision to exhibit live animals in the gallery space had no precedent in the context of modern art and directly influenced the emergence of the Italian Arte Povera movement. It also revealed the influence of the Italian economic reality at the time (where rural and urban rituals and customs were still entwined) on Serra’s developing practice. Other case studies explored in the show include exchanges between Robert Rauschenberg and Alberto Burri, the exploration of writing and calligraphic elements in painting in the works of Cy Twombly and Jannis Kounelis, the sculptural study of animal forms through various new media in the work of Pino Pascali and Richard Serra, and the encouragement of artists, such as Alexander Calder, to engage with various forms of public display including outdoor commissions and expansive displays like those afforded by the Venice Biennale. In hindsight it is hard to determine whether these Italo-American and Italo-European affairs of the 1950s and ’60s represent a love story, a battleground or a game of Chinese whispers in which an exchange of ideas of unknown quantity and quality took place. To explore these relationships, and to better understand their implications on the contemporary artworld and art market, the exhibition at Luxembourg + Co. is organised in the form of an open dialogue between pairs and constellations of artworks that tell stories of stylistic, technical and ideological exchange between Italian artists and their European and American contemporaries, including some of its pronouncements in the artworld today. 2 SAVILE ROW, LONDON W1S 3PA · T +44 (0)20 7734 1266 F +44 (0)20 7287 7039 LUXEMBOURG AND CO ART LIMITED REGISTERED IN ENGLAND NUMBER 7795620 VAT NUMBER 121 3859 31 About Luxembourg + Co. Luxembourg + Co. presents curated, museum-quality exhibitions of works by modern masters and contemporary artists in its spaces in New York and London. Since its opening, the gallery has presented a number of critically acclaimed exhibitions, ranging from individual presentations of artists such as Paul Cezanne, René Magritte, Alberto Burri, Richard Prince and Derrick Adams to thematic survey exhibitions such as Grisaille, Unpainted Paintings, The Shaped Canvas, Revisited and The Ends of Collage. Luxembourg + Co. is open Tuesday to Friday, 10am–5pm, and Saturday, 12pm– 4pm (or by appointment). For press requests please contact: Sam Talbot | [email protected] | +447725 184 630 2 SAVILE ROW, LONDON W1S 3PA · T +44 (0)20 7734 1266 F +44 (0)20 7287 7039 LUXEMBOURG AND CO ART LIMITED REGISTERED IN ENGLAND NUMBER 7795620 VAT NUMBER 121 3859 31.
Recommended publications
  • ACTION | ABSTRACTION Alberto Burri Lucio Fontana
    ACTION | ABSTRACTION Alberto Burri Lucio Fontana PRESS RELEASE 14th January 2019 TORNABUONI ART LONDON - 46 Albemarle St, W1S 4JN London Exhibition: 8th February - 30th March 2019 Press view: 10am - 12pm from 6th to 8th February Conference: 7th March, 5pm-7pm, Royal Academy of Arts London, ‘Alberto Burri: A Radical Legacy’ moderated by Tim Marlow, Director of Programmes at the Royal Academy, with professor Bruno Corà, President of the Alberto Burri Foundation, professor Luca Massimo Barbero, Director of the Art History Institute at the Fondazione Giorgio Cini, Venice, and professor Bernard Blistène, Director of the Centre Georges Pompidou, Paris. This exhibition sets out to recapture one of the most dramatic periods of Post-War art in Italy. The selection of works by the avant-garde artists Alberto Burri and Lucio Fontana will shed light on how the trauma and destruction of two world wars spurred these artists to reject representation and to return to primordial forms of communication through material and gesture – in Fontana’s case, through a simple but supremely efective piercing of the canvas surface and, in Burri’s case, a radical and sometimes violent reimagining of the expressive potential of traditionally ‘non-artistic’ materials. The show will shine a light on the correspondences and convergences between these artists who, despite their vastly difering aesthetics, now stand together as luminaries of material- based abstraction and an inspiration to an entire generation of artists who grew up in their shadow. Tornabuoni Art will explore their work in a tightly curated selection of highlights on display in the London gallery. Both artists are being honoured with institutional exhibitions this year.
    [Show full text]
  • Download Download
    1 Histories of PostWar Architecture 2 | 2018 | 1 1968: It’s Just a Beginning Ester Coen Università degli Studi dell’Aquila [email protected] An expert on Futurism, Metaphysical art and Italian and International avant-gardes in the first half of the twentieth century, her research also extends to the sixties and seventies and the contemporary scene, with numerous essays and other publications. In collaboration with Giuliano Briganti she curated the exhibition Pittura Metafisica (Palazzo Grassi, Venice 1979) and edited the catalogue, while with Maurizio Calvesi she edited the Catalogue Raisonné of Umberto Boccioni’s works (1983). She curated with Bill Lieberman the Boccioni retrospective at the Metropolitan Museum of New York in 1988 and has since been involved in many international exhibitions. She organised Richard Serra’s show at the Trajan’s Markets (Rome 1999), planned the Gary Hill show at the Coliseum (Rome 2005) and was one of the three committee members of the Futurism centenary exhibition (Pompidou Paris, Scuderie del Quirinale Rome and Tate Modern London) celebrating in the same year (2009) with Futurism 100: Illuminations. Avant-gardes Compared. Italy-Germany-Russia the anniversary at MART in Rovereto. In 2015 she focused on Matisse’s fascination for decorative arts (Arabesque, Scuderie del Quirinale Rome) and at the end of 2017 a show organized at La Galleria Nazionale in Rome anticipated the fifty years of the 1968 “revolution”. Full professor of Modern and Contemporary Art History at the University of Aquila, she lives in Rome. ABSTRACT 1968 marks the beginning of a social, political and cultural revolution, with all of its internal contradictions.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • THE ITALIAN SALE 20Th Century Italian Art at Christie's London This
    For Immediate Release 1 September 2006 Contact: Milena Sales +44 207 389 2664 [email protected] THE ITALIAN SALE 20th Century Italian Art at Christie’s London this October Giorgio de Chirico (1888-1978) Lucio Fontana (1899-1968), Concetto spaziale, Mobili nella valle, 1927 Attese, 1963 (estimate: £500,000-£800,000) (estimate: £900,000-1,300,000) The Italian Sale Christie’s London 16 October 2006 at 7pm London – Christie's is pleased to announce the sixth sale of 20th Century Italian Art will take place on Monday 16 October 2006 at 7pm. Italian art continues to capture the interest and enthusiasm of private collectors and institutions worldwide and is currently an area of market growth. This autumn’s selection of Italian art will include major paintings and sculptures from Italy’s foremost modern and contemporary artists with examples spanning the key artistic movements of important Italian 20th century art. “20th Century Italian art is increasingly sought after on the international market and yet is still enticingly undervalued. Our high profile and selective sale in London this October will offer excellent opportunities for established and new collectors and institutions from all over the world,” said Olivier Camu, International Director, Christie’s London and a specialist in charge of the sale. “The highlight of the sale is a group of sculptures and paintings by Lucio Fontana, eloquent and elegant works that cover the range of his Spatialist adventures. Other highlights include a number of museum- quality paintings and sculptures by artists such as Giorgio de Chirico, Piero Manzoni, Pino Pascali, Mario Merz, and Alighero Boetti,” continued Mariolina Bassetti, a specialist in charge of the sale and Director of Modern and Contemporary Italian art, Christie’s Italy.
    [Show full text]
  • Introduction*
    Introduction* CLAIRE GILMAN If Francesco Vezzoli’s recent star-studded Pirandello extravaganza at the Solomon R. Guggenheim Museum and the Senso Unico exhibition that ran con- currently at P.S.1 Contemporary Art Center are any indication, contemporary Italian art has finally arrived.1 It is ironic if not entirely surprising, however, that this moment occurs at a time when the most prominent trend in Italian art reflects no discernible concern for things Italian. Rather, the media-obsessed antics of Vezzoli or Vanessa Beecroft (featured alongside Vezzoli in Senso Unico) are better understood as exemplifying the precise eradication of national and cultural boundaries that is characteristic of today’s global media culture. Perhaps it is all the more fitting, then, that this issue of October returns to a rather different moment in Italian art history, one in which the key practition- ers acknowledged the invasion of consumer society while nonetheless striving to keep their distance; and in which artists responded to specific national condi- tions rooted in real historical imperatives. The purpose of this issue is twofold: first, to give focused scholarly attention to an area of post–World War II art history that has gained increasing curatorial exposure but still receives inadequate academic consideration. Second, in doing so, it aims to dismantle some of the misconceptions about the period, which is tra- ditionally divided into two distinct moments: the assault on painting of the 1950s and early ’60s by the triumverate Alberto Burri, Lucio Fontana, and Piero Manzoni, followed by Arte Povera’s retreat into natural materials and processes.
    [Show full text]
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • Rome – Milan: Space and Colour, Rhythm and Matter 1 October
    Press Release Rome – Milan: Space and Colour, Rhythm and Matter 1 October – 28 November 2020 Private View: 1 October 2020, 12-8pm by appointment Mazzoleni is delighted to announce the launch of the new exhibition season in its London gallery on 1 October 2020, with the group show Rome – Milan: Space and Colour, Rhythm and Matter. The show brings together a number of the leading figures of the Italian art scene that were operating in these two major Italian cities with works realised mainly between the 1950s and 1960s. Acclaimed for their artistic revolutions, pioneers Lucio Fontana (1899-1968) and Alberto Burri (1915-1995) were the points of departure and reference for the experimentation later conducted by the artists born in the 1930s such as Agostino Bonalumi (1935-2013), Enrico Castellani (1930-2017), Dadamaino (1930-2004), Jannis Kounellis (1936-2017), Piero Manzoni (1933-1963) and Mario Schifano (1934-1998). They were to explore new and further strands of research as their artistic careers evolved. Fontana’s innovative reflections on space and Burri’s in-depth experimentation with materials were to be the driving forces behind the development of new artistic idioms. In parallel, predominantly through painting, Giulio Turcato (1912-1995), Piero Dorazio (1927-2005) and Carla Accardi (1924 -2014) (already members of the group Forma 1) combined a skilled use of shapes and colours with new “painterly” materials such as, foam rubber, enamels and casein. Meanwhile Giuseppe Capogrossi (1900-1972), the founder with Burri of the Origine group, developed a personal sign alphabet. In sculpture, from his debut alongside Lucio Fontana, Fausto Melotti (1901-1986) developed a lyrical and poetic dimension that led him to a truly unique artistic path of the Italian art scene.
    [Show full text]
  • Catherine Ingrams
    HTTPS://DOI.ORG/10.14324/111.2396-9008.034 ‘A KIND OF FISSURE’: FORMA (1947-1949) Catherine Ingrams We declare ourselves to be Formalists and Marxists, convinced that the terms Marxism and Formalism are not irreconcilable, especially today when the progressive elements of our society must maintain a revolutionary avant-garde position and not give over to a spent and conformist realism that in its most recent examples have demonstrated what a limited and narrow road it is on.1 hese are the opening lines of Forma’s manifesto, signed in Rome in March 1947 by eight young artists: Carla Accardi, Ugo Attardi, Pietro TConsagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato. They had met during the previous year through the realist painter, Renato Guttuso, a fellow member of the Italian Communist Party (the PCI) and a would-be mentor to them. Guttuso was on a trip to Paris when Forma signed their manifesto in his studio, a place where he had been letting many of them stay. With its contemptuous dismissal of realism, together with the method of its execution, Forma’s manifesto came as a compound rejection of Guttuso’s art, his hospitality and his network of connections, and it acted as a deliberate gesture of rupture, one which announced Forma’s ambitions to belong to ‘a revolutionary avant-garde’. In the discussion that follows, I connect Forma’s rhetoric of rupture with a more complex socio-political context, and I move to engage their art as a gesture of historical resistance worked through their reimagined return to the theories of Russian Formalism.
    [Show full text]
  • La Libertá O Morte Freedom Or Death
    Herning Museum of Contemporary Art: ‘La liberta o morte’, 2009 la libertá o morte freedom or death By Jannis Kounellis HEART Herning Museum of Contemporary Art opens its doors for the first time to present a retrospective exhibition of the works of the Italian artist Jannis Kounellis (B. 1936). This is the first major presentation of Kounelli’s works in Scandinavia, and the artist will create a number of new works for the exhibition. HEART owns the world’s largest collection of works by the Italian artist Piero Manzoni. In his early works from © AL the 1950s and 1960s Kounellis may well have been the D EN D one young artist whose sensibilities and choice of YL materials came closest to those of Manzoni. G TEEN : S : OTO F Untitled, 1993. Old seals and ropes. Variable dimensions HEART / HERNING MUSEUM OF CONTEMPORARY ART / JANNIS KOUNELLIS la libertá o morte freedom or death Freedom or death The HEART exhibition of Jannis Kounellis’ work derives its With its text, Untitled 1969 refers to the French Revolution and title from a piece created in 1969. Strictly speaking, the to two of the strongest champions of the Revolution. Marat title of the object is not even La Liberta o Morte. Like most and Robespierre both fell victim to their own fanaticism, but of Kounelli’s work the piece in question has no title, but the during their brief careers they also laid down the foundations statement or exclamation is the very essence of the work. of the ideals of freedom inherent within Western European Untitled, 1969 consists of a sheet of iron with dimensions democracy.
    [Show full text]
  • Arte Povera Tate Modern, London, UK
    MARIAN GOODMAN GALLERY Arte Povera Tate Modern, London, UK By Alex Farquharson (September 10, 2001) Unbelievably, 'Zero to Infinity' is the first survey of Arte Povera to be held in Britain. We've had solo, senior-status shows by many of its prime exponents - Luciano Fabro, Michelangelo Pistoletto, Jannis Kounellis, Giuseppe Penone, Alighiero Boetti - in recent memory, but no overview. The movement officially began in 1967, when the young critic-turneD-curator Germano Celant coined the Arte Povera moniker, and ended in 1970, when he took the unilateral decision to bury it and work with its individual participants. Usually it's the artists that reject the way their inDividualism has been subsumed by movements defined by critics or curators, but in Arte Povera's case it was the artists (most of them, at least) who wanted to keep the show on the road into the 1970s. This says a lot for the strange coherence of this most enigmatic of art movements, anD the relative isolation Italian artists experienced prior to their integration within international post- Minimalist tenDencies at the close of the DecaDe. The show's curators, RicharD FlooD from the Walker Art Center anD the Tate's Frances Morris, made the innovative decision to extend the time frame to include Arte Povera's immediate aftermath and its pre-history, when some of its slightly older practitioners (Pistoletto, Pino Pascali and Kounellis, for example) were beginning to be known individually. Academically, this move revealed the extent to which Arte Povera did or didn't come out of nowhere, and how, after its dissolution, the artists set out on the divergent, inDividually traDemarkeD careers we know toDay.
    [Show full text]
  • Magazzino Italian Art Launches Magazzino Da Casa, a Series Of
    Magazzino Italian Art Launches Magazzino da Casa, A Series of Digital Initiatives Encompassing Live-Streamed Artist Q&As, Scholarly Lectures, and New Video and Online Content Anchoring the Program will be Homemade, A New Digital Invitational Where New York-based Italian Artists Create and Share New Works From their Home Cold Spring, NY – March 30, 2020 (updated May 26) – Magazzino Italian Art announces the launch of Magazzino da Casa, a new series of digital programs dedicated to providing insightful new encounters with postwar and contemporary Italian art and artists through exclusive content on the museum’s website and social media platforms. Developed to counter current feelings of isolation and dislocation through fostering a sense of community around Italian art and creativity, Magazzino da Casa expands the museum’s public programming into the digital sphere, with live-streamed Q&As with artists including Marinella Senatore, the presentation of unreleased films relating to recent museum projects, the digitization of past exhibition catalogues, Instagram Live lectures by leading scholars from around the world, music playlists contributed by community members on Spotify, and more. Among the program’s highlights is Homemade, a new initiative inviting eight New York-based Italian artists to create and share new works from their homes in the coming weeks. Initiated to support and inspire artistic production, Homemade will feature regular project updates from each of the artists, shared via Magazzino’s Instagram, and ultimately the final works during the first week of June. Working from home, the artists will experiment with new materials, using what is available, as well as cultivate a new appreciation for current domestic realities.
    [Show full text]
  • 19 October - 22 December 2018
    Rosso nero, 1955 PRESS RELEASE 14 September 2018 19 OCTOBER - 22 DECEMBER 2018 Vernissage 18 October from 7pm to 9pm Words do not help me when I try to talk about my painting. It is an irreducible presence that refuses to be translated into any other form of expression. It is a presence that is both imminent and active at the same time. - Alberto Burri in B. Corà, Burri: Lo spazio di materia | Tra Europa e USA, Fondazione Palazzo Albrizzi Collezione Burri, 2016, p. 115. Following the success of its Art Basel 2018 stand dedicated to the Plastiche series of Alberto Burri, Tornabuoni Art is pleased to announce a year-long exhibition programme devoted to the radical work of this Post-War Italian master. This autumn, the gallery is staging an unprecedented exhibition of the artist’s work in its Paris space, in the heart of the Marais, from which a selection of highlights will later be exhibited at Tornabuoni Art's London gallery, in Mayfair. The London gallery will then organise conference on Burri and his legacy in March 2019. To coincide with the 58th Venice Biennale in Passage de Retz, 9 rue Charlot, 75003 Paris, France T. + 33 1 53 53 51 51 1/5 [email protected] www.tornabuoniart.fr 2019, Tornabuoni Art will also present a major retrospective of Burri’s career at the Fondazione Giorgio Cini, in partnership with the Fondazione Palazzo Albizzini Collezione Burri. In preparation for this event in Venice, Tornabuoni Art is inaugurating an homage to Burri in its gallery in Paris, a city whose most important public collections of modern and contemporary art all contain examples of the artist’s work, but which nevertheless has not hosted a Burri exhibition in more than 40 years (the most recent was held at the Musée National d’Art Moderne in 1972).
    [Show full text]